Worlding Sei Shônagon: The Pillow Book in Translation

André Beaujard (1966) French

139 André Beaujard Notes de Chevet Traduction et commentaires par Andre Beaujard. Connaissance de l’Orient Paris: Gallimard/Unesco, 1966 (For biographical information on Beaujard, see the previous entry under his name.) In his introduction, Beaujard comments briefly on the differences between this edition and that of three decades earlier: “First, in order to facilitate reading, I have done away with the brackets that I had used, in a work primarily designed for the use of specialists, to set off the words added to the text. Wherever they did not seem indispensable, these words themselves have been deleted. I have also rewritten the notes, leaving out a good number concerning, for example, titles, the names of places, animals, plants, clothing… ” (9; my translation). In this passage, the square brackets have indeed been abolished, and the notes are reduced by half. In all other respects, however, the translation is identical. André Beaujard (1966) 140 Au printemps, c’est l’aurore… Au printemps, c’est l’aurore que je préfère. La cime des monts devient peu à peu distincte et s’éclaire faiblement. Des nuages violacés s’allongent en minces traînées. En été, c’est la nuit. J’admire, naturellement, le clair de lune ; mais j’aime aussi l’obscurité où volent en se croisant les lucioles. Même s’il pleut, la nuit d’été me charme. En automne, c’est le soir. Le soleil couchant darde ses brillants rayons et s’approche de la crête des montagnes1. Alors les corbeaux s’en vont dormir, et en les voyant passer, par trois, par quatre, par deux, on se sent délicieusement triste2. Et quand les longues files d’oies sauvages paraissent toutes petites ! c’est encore plus joli. Puis, après que le soleil a disparu, le bruit du vent et la musique des insectes ont une mélancolie2 qui me ravit. En hiver, j’aime le matin, de très bonne heure. Il n’est pas besoin de dire le charme de la neige ; mais je goûte également l’extrême pureté de la gelée blanche ou, tout simplement, un très grand froid ; bien vite, on allume le feu, on apporte le charbon de bois incandescent ; voilà qui convient à la saison. Cependant , à l’approche de midi, le froid se relâche, il est déplaisant que le feu des brasiers carrés ou ronds se couvre de cendres blanches. (p. 29) 1 Ou : « et la crête des montagne semble s’être beaucoup rapprochée ». 2 Awaré. Voir p. 14. [The reference here is to the following: “cette tournure particulière, cette humeur romantique faite de sympathie pour la nature, de pitié pour la tristesse des êtres et des choses, qu’exprime le mot, si souvent employé par les auteurs japonais, d’aware.”] French 141 In spring, it is the dawn… In spring, it is the dawn that I prefer. The summit of the mountains becomes gradually distinct and clears slowly. Purplish-blue clouds stretch out in thin trails. In summer, it is the night. I admire , naturally, the light of the moon; however, I love also the darkness where fireflies fly across each other. Even if it rains, the nights in summer charm me. In autumn, it is the evening. The setting sun shoots its brilliant rays and reaches the crest of the mountains .1 Then the crows go off to sleep, and in watching them pass, by three, by four, by two, one feels deliciously sad.2 And when the long lines of wild geese appear so small! it is even prettier. Then, after the sun has disappeared, the sound of wind and the music of insects have a melancholy2 that delights me. In winter, I love the morning, very early. It is not necessary to tell of the charm of the snow; however I savour equally the extreme purity of the white frost or, quite simply, a very great cold; very quickly, one lights the fire, brings the coal of glowing wood; that is what suits the season. Nevertheless, as midday approaches, the cold lessens, it is unpleasant when the fire in the square or round braziers becomes covered in white ashes. [J. B.] 1 Or: “And the crest of the mountain seems to be much closer.” 2 Awaré. See p. 14. [The reference here is to the following: “this particular phrasing, this romantic sense made of...